Soft pads open the frame, then the groove locks and the lead announces the contract: nalen seya, answered by the short refrain Seya. The pulse settles early; the song’s name and motion arrive together before any story line.

Lead phrases move through daily images—children, market, cloth, named gifts—while the ensemble answers each line with seya / nalen seya. Call-and-response becomes the working engine: new lyric keeps arriving, the refrain keeps proving the frame still holds.

The opening chant reloads as sewa, then the voice stretches into a freer wassolon cry before settling on love’s claim. The section lifts the song out of list-verse without breaking the pocket.

A second market cycle begins—Madina Coura, Bama Niare, rope and load—again answered by the same refrain tags. Repetition does the formal work: the earlier contract is confirmed under fresh place-names.

Stacked vocables—bayabasa, bayurusa, bayoroba—tighten the refrain into pure rhythm chant over the still-running groove. Pressure eases after 4:04; attention and motor hold loosen into terminal silence by 4:15.

The whole form rides one sustained pocket: refrain first, verse cycles second, chant last, closure by withdrawal rather than a hard stop.